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  We know it’s hot out there, stay, at your next rental grab a free cool water bottle

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The Nikon D810 is officially available for rent

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Our Brooklyn location, is a drive in. Drive in, pack up, and go. 

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Today we reached 10,000 likes on our Facebook page. Congratulations to our Compan. Most importantly Thank You to the followers and fans who made this possible. We can’t thank you guys enough for your interest and business.

Please follow our Facebook and Twitter and Tumblr if you’re just learning about us today. 

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New Rosco LED Loop Ring Light

New Rosco LED Loop Ring Light is now available for Rental In New York

LitePad Loop is a soft, lightweight, and powerful ring light that can work with virtually any camera and lens system. The ingenious, two-part design allows for quick and easy attachment to the camera while its soft, diffused light is ideal for close up photography – the mode for which ring lights were designed.

LitePad Loop is a sleek, easy to use ring light that produces a great quality of light. Loop is just over 9 inches in diameter with a 4.4 inch center hole. Its housing is manufactured in a durable, shatter resistant plastic. The LitePad inside the Loop has LEDs on both the inside and outside perimeters of the “O” shape, allowing for maximum brightness. LitePad Loop can be dimmed using either the Rosco

The LitePad Loop Mounting Assembly is based on the industry standard 15mm rod support system. This makes the Mounting Assembly very sturdy, as well as adaptable to equipment you might already own. The Mounting Assembly allows the Loop to travel backwards and forwards, as well as vertically, in order to position the camera lens in the center of the ring light. Rent It Now

The most innovative aspect of the LitePad Loop is how it attaches to the camera. On the back of the Loop is a set of high powered magnets that allow the user to quickly attach and detach the Loop from the mounting assembly.

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Arri L7 C LED Fresnel Color

Arri L7-C COLOR CONTROL LED FRESNEL Now in Rental at CSI Rentals NYC

The ARRI L7-C Colour LED Fresnel at the vanguard of a new generation of lighting equipment that can be seamlessly integrated into the studio or onto the set without sacrificing features or performance. The key characteristic of any Fresnel is flood to spot capability and the L7-C meets and exceeds expectations with an impressive beam angle of 15-50°. There’s simply no learning curve or accommodation to be made when swapping out L7s fixture for fixture with standard Fresnels. In fact, you’re not going to be moving them around or juggling scrims in high places thanks to the 100 – 0% dimming capability. The Arri L7-C is a “fully tune-able” white light source, too, allowing you to match existing fixtures from a warm 2,700K to ice-blue 10,000K. Light intensity as well as colour temperature and +/- green are controllable via DMX or RDM, as well as matching specific colour shades and skin tones through the full gamut colour mixing feature. And the L7-C will be seen but not heard thanks to its dead quiet passive cooling system. While inclement weather might annoy the talent it won’t kill your light since L7-C has an IP54 rating making it impervious to falling rain and splashing water. The L7-C LED source produces 1,000W of light while drawing only 220W for a savings of a whopping 75% over similar output tungsten lights. And low heat means lower AC bills in the studio. You can actually run 9 L7s off of a 20A, 110V outlet as opposed to two 1,000W or three 650W standard fixtures. When it comes to performance and features, the L7-C might just be the perfect light source.

 Key Features

Colour Controllable

Full Gamut Colour Mixing

Quiet Passive Cooling

IP54 Water Resistant Rating

Sliding Stirrup

DMX Control

Upgradeable Via USB

Long Life LEDs

Very Low Electrical Draw

Quality of light begins with the field. Smooth intensity, uniform colour, even illumination: all are traits shared by the L-Series and conventional ARRI Fresnels. And, as Fresnel fixtures are already workhorses of the lighting industry, designers and technicians now have nothing new to learn in order to use LED technology.

 Focusability

A key element of the versatility of traditional Fresnels is the ability to spot and flood the beam as needed. Whether it’s a flood field for a pullback shot or a tight spot for a bright highlight, the continuous focusability of the L-Series performs lives up to your expectations. And, unlike traditional Fresnels, which have significant light waste in spot focus, the efficient L-Series optical system maintains the same field lumens in all focus positions.

 Versatile, Controllable Beam

Whether shaping the beam to isolate talent and set elements or cutting the field to eliminate spill light, controllability is crucial to lighting. L-Series Fresnels provide the same ability to cut and shape with barndoors and flags that we have come to expect from conventional Fresnels.

 Even Light Field

Clear, defined shadows have traditionally have only been a trait of single source tungsten and daylight fixtures. ARRI L-Series Fresnels provide the same single shadow properties designers expect, delivering natural results.

 Colour: Vibrant, Full-spectrum Lighting

With the L7-C, fully tune-able white light can be adjusted for different skin tones, camera sensors and mixed-light environments, while specific colour shades can be matched through full gamut colour mixing. Unlike other LED fixtures, this level of colour control does not involve compromising the quality of the light field: the L-Series is unique in combining uniform light and single shadow rendition with absolute control of colour attributes.

 Passive Cooling

To satisfy the rigorous sound requirements of modern broadcast studios, the groundbreaking L-Series passive cooling system incorporates no moving parts or fans and is therefore completely silent; it can be used in ambient air temperatures of up to 95° (35°C).

 Focus Knobs

True Blue-style focus knobs provide the precise adjustment and rapid flood-to-spot that users enjoy from manual, mechanical control. Knobs on both sides of the fixture ensure easy access from all positions, eliminating the need for awkward reaching around the fixture. Turning the knobs is neither tedious nor time-consuming; full flood-to-spot can be achieved in only three turns.

 Sliding Stirrups

The ARRI sliding stirrup design enables precise adjustment of the fixture’s center of gravity, to compensate for front-end accessories. It also creates the option of pulling the fixture back and reducing its hanging height.

 Tilt Lock

The high strength tilt lock provides extremely secure locking, eliminating movement and slippage and ensuring that the fixtures will stay where you put them.

 DMX Control

For broadcast studios, remote fixture control is of paramount importance, and all functions of the L7 are controllable through DMX. You can regulate intensity, color temperature and plus/minus green, which can be switched to manipulate hue and saturation, directly from your control console. The L7 is also fully RDM compatible, providing bi-directional feedback and reporting of parameters including system status, hours on the light engine, calibration data from the internal color sensor and current DMX address (with the ability to remotely assign and address all fixtures in a DMX network).

 Location Applications

Lighting teams working on location will love the versatility they can achieve in small to medium-size packages. Nine ARRI L7 Fresnels can be run off a single 20 A, 110V outlet, as opposed to only two 1000W or three 650 W tungsten Fresnels

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CANON EOS 6D

Full-Frame Capture With DIGIC 5+ Power.

Newly designed 20.2 Megapixel Full-Frame CMOS sensor

The EOS 6D features a newly developed Canon Full-Frame 20.2 Megapixel CMOS sensor for high resolution, perfectly detailed images delivered with incredible speed and performance. A 35.8mm x 23.9mm sensor captures images of 5472 x 3648 pixels with a pixel size of 6.55 µm square for fantastic detail and a superior signal-to-noise ratio, resulting in great images from the start. With no conversion factor, the EOS 6D’s sensor ensures that lenses mounted on the camera will deliver the same angle of view they would on a traditional 35mm camera. Working in tandem with the EOS 6D’s DIGIC 5+ Image Processor, the sensor containing a new photodiode structure delivers ISO sensitivities of 100-25600 (with expanded sensitivities of L: 50, H1: 51200, H2: 102400) and can shoot at up to 4.5 frames per second. Wrapped up in the EOS 6D’s compact and lightweight body, photography with a full-frame sensor has never been so easy and so portable.

14-bit A/D conversion, wide range ISO setting 100-25600 (L: 50, H1: 51200, H2: 102400)

The EOS 6D offers 14-bit signal processing for excellent image gradation, delivers high standard and expanded ISOs, and a score of new options to enhance shooting in varied and fast-changing lighting situations. The EOS 6D has a standard range of ISO 100-25600 but thanks to the improved signal-to-noise ratio of the newly designed sensor and powerful noise reduction, the camera can shoot at expanded sensitivities down to ISO 50 (L) and up to ISO 51200 (H1), and even expand to ISO 102400 (H2)! Beyond the obvious advantages of its wide ISO range, the EOS 6D has automatic ISO settings, which can be found on the dedicated ISO menu. Minimum and maximum ISO settings can be specified, as can a user-defined range, plus full auto and manual.

DIGIC 5+ Image Processor for enhanced noise reduction and exceptional processing speed

For a whole new level of performance, the EOS 6D uses a DIGIC 5+ Image Processor. Working with two 4-channel A/D converter front-end processing circuits, and delivering speeds of up to 4.5 fps (RAW + JPEG), the DIGIC 5+ Image Processor improves data processing performance and features new algorithms that promote greater noise reduction at higher ISOs. In addition to conventional image processing functions, the DIGIC 5+ Image Processor offers real-time compensation for chromatic aberration in both still and motion images. With the power of this processor, speed improvements are noticeable from the instant the camera is turned on and the stunning results speak for themselves.

Rent the new Canon EOS 6D DSLR HD Camera at CSI Rentals New York City

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Canon C100 Review by David Adler

The Canon C100 was announced as the little brother to the very successful C300 cinema camera.  Expectations are high for this camera with its high quality  QHD (Quad HD) image sensor, compact form factor and price tag a bit higher than its competitors in its class.

  -First Look-

After removing the camera from the box I was surprised at how compact it was, it weighed maybe a little more than a large DSLR camera.  After attaching all the included accessories the camera took on a much larger form factor, but not large enough to be discouraging.  Included with the camera are a power supply/battery charger, a strap, a top handle with XLR inputs and audio controls, a thumb rest for when the side handle is not being used, a large rechargeable battery, and all the necessary power cables, manuals and software.

At first glance I could tell that Canon used up any real estate that they could in order to put as many useful controls and operational hardware on the main body of the camera as possible while keeping a compact form factor.

Unlike the C300 which has a LCD monitor/audio unit that can attach to the top of the camera, the C100 has an articulating monitor built in to the back of the camera much like a DSLR.  The LCD can be flipped out of the way for storage and protection.

Behind the LCD there are rubberized playback controls for the camera’s media mode and display controls (these controls cannot be used while the LCD is closed).  The playback buttons can be customized to be used for other functions while in the record mode.  Also behind the LCD are the card slots to hold the recording media; in this case SD cards (class 4 or higher recommended for proper recording).

Unlike the C300 there is no battery door, allowing larger batteries like the BP-975 to be used (in order to use these batteries on the C300 the door must be removed).

The viewfinder is at the top of the camera and does not telescope or tilt like the one on the C300.  The screen inside the viewfinder is very small and seems far away but it is high resolution.

On the right side of the camera are the I/O ports.  The C100 has most of the standard ports for a camcorder which include a 3.5mm headphone output, 2.5mm remote control input, USB 2.0, HDMI, DC power input, and on the front a composite video output.

On the operator side of the camera are all the image controls.  There are dedicated buttons for ISO, shutter speed, picture profiles, and white balance.  There are also buttons for punch in, peaking, zebras, and waveforms.  Thankfully, Canon has also implemented four ND filters on a rotating wheel.  If you are using EF lenses there is a one-shot autofocus button (this button can be reprogrammed).  The iris can also be manually adjusted using the jog wheel on the handgrip which also has image magnification and start/stop buttons.  Additional start/stop buttons can be found on the top handle and near the lens mount on the front.

The “dumb side” of the camera has a LEMO port for the audio unit on the top handle and a port for the wireless file transmitter.  There is also a screw in rosette for the side handle.  This rosette has a special 3.5mm port to interface with the side handle controls.

On the top of the camera is a cold shoe mount with a 1/4 20” hole for the included handle/audio unit.  The top handle has start/stop controls, XLR ports and controls and a shotgun microphone holder.

Internally the camera records 1080p at 30 and 24 frames per second (fps) for NTSC and 25 fps for PAL.  The video is recorded to the now outdated AVCHD 1.0 spec at data rates from 13-24 Mbps in an 8-bit 4:2:0 color space.  Canon is unfortunately behind in the times when it comes to internal recording on their cameras.  This could be due to licensing issues (Sony and Panasonic are the companies behind the AVCHD codec) but canon already implements .MOV recording on their DSLRs and some even have an all I-frame option.  There is also no 720p mode, so no 60 fps for slow motion (their DSLRs have this…) even though AVCHD can support 60fps in 1080p.  Keep in mind that the compression can by bypassed using the HDMI port to record 8-bit 4:2:2 uncompressed footage to an external recorder like the Sound Deviced PIX-240.

  -In Use-

Being designed specifically for professional video, the C100 has excellent ergonomics suited for that task.  Fully built and with the right lenses, the camera can take on pretty much any task be it documentary or narrative work.  When picking it up, the camera felt nice in the hands.  Flipping the screen around so it faces up facilitates nice waist level shooting.  Or if you articulate the handgrip you can comfortably use it at face level.  Fully built with some larger or heavier lenses however, the C100 can feel rather front heavy and this should be considered when putting it down on a flat surface.  This did not present a problem with hand-holding the camera as you should support larger lenses directly while pulling focus and moving the camera (or have a tripod or rig to make that easier).

Bringing it down to its most ‘barebones’ configuration, the C100 becomes very small and light.  Great for run and gun shooting or inconspicuous videography.  Although when you remove the handgrip, be aware that because of real estate issues on the camera Canon did not place a joystick or rotary encoder on the body itself (like the C300).  This will prevent you from scrolling through the menu and from being able to change your exposure values (except for auto iris which could be useful in run and gun situations with frequent exposure changes).  While this was frustrating at first, I found that I could reprogram the playback controls on the back of the camera (which by default only function in ‘media’ mode) to adjust those values but not to scroll through the menu.  So if you need to use the camera this way, be sure to set up your camera menu settings before you shoot.

The components used to build the C100 are of a high quality, despite the plastic.  The buttons are easy to press and have a positive click when pressed.  The start/stop buttons are nicely damped and have a positive feel to them.  Like all of their high end cameras the rotary encoder on the handgrip has a perfect balance of resistance in the clicks and comfort during use.  The joystick feels slightly flimsy because it is small but will stand up to use and abuse.

One feature that the C100 has the the C300 does not is a built in microphone.  For scratch audio it is more than sufficient but for anything more than that, use the XLR ports for external microphones.  Even though the camera records internally to AVCHD, the audio can be recorded in 16bit 48KHz LPCM as opposed to the standard AC3 compression.  With that specification, dual system sound is not required in most cases.  Keep in mind that larger and heavier shotgun microphones will add to the front-heavy factor.

  -The Image-

Probably one of the most important parts of considering which camera to use is the image quality.  As seen with the C300, what is on paper does not always tell the whole story.  Considering that the C100 has the same sensor as its bigger brothers the image coming out of the camera should be very nice.  But there could be some issues.  The low bit-rate AVCHD codec and the 8-bit color depth.  So how does the camera do image quality wise in the real world?  Let me tell you, you may be very surprised as to what you can get out of a 24Mbps AVCHD codec.  While it is outdated, AVCHD is still an extremely efficient codec and combined with the wonderful Canon image sensor the quality in the images is delivered in spades- provided that you don’t push your post grade too hard.  The dynamic range is maintained excellently, colors are rich (depending on your picture profile), and the image is very sharp with a lot of detail.  One could easily cut between the C100 and the C300 if the picture profiles are matched, because the images are very much alike.  But the C300 should be used for chroma key applications because of its better chroma subsampling (4:2:2).  On the downside is the low bit-rate codec.  AVCHD, as far as efficiency goes, holds onto detail extremely well despite the low data rate.  But you should make sure that your exposure is set well.  It is very easy to cause image artifacting through pushing the grade too far.  One aspect of the image quality that never fails to impress though, is the low light capability.  This camera can produce images at up to 20,000 ISO.  Some other cameras can do that but cannot preserve the image detail, low noise level, and dynamic range that the C100 can at those higher ISO levels.

  -Compared to HDSLR cameras-

The big question that people want answered is “What do I get for the extra money that I would spend on the C100 over a DSLR?”  And the answer is a resounding “A lot”.  Comparing image quality to older DSLR cameras, there are no aliasing artifacts due to subpar downsampling from the sensor.  The amount of detail preserved in the camera itself is also massively improved over DSLRs.  This is especially true in low light situations where most DSLRs would be pretty much unusable after about 3200 ISO while the C100 maintains a usable image throughout its ISO range.  The dynamic range is significantly better than Canon’s other DSLRs when it comes to video and the highlight rolloff is much more controlled.

Ergonomically speaking, there is no comparison.  The C100 delivers far superior ergonomics to DSLRs.  The handgrip is comfortable and secure and offers a more secure grip on the camera with the  thick, comfy, adjustable hand strap.  You can easily and conveniently hold this camera steady for an extended period of time without a rig.

Most of the essential camera functions are available without having to dig through menus.  Professional monitoring functions are available.  Focus peaking, waveforms,  punch-in, and histograms are all available while recording.  XLR inputs are built in with audio adjustments and monitoring easily accessible, no bulky external preamps needed.  Having ND filters built in is a huge convenience and time saver.

Although this is less of a problem with newer DSLRs, there are no cooling issues with the C100, the parts are constantly cooled by Canon’s innovative cooling system.  And one of the biggest advantages, the battery life is amazing.  No more having to change batteries every 45 minutes, Canon’s massive video batteries can last hours under the most intensive circumstances.

Many of these advantages over a DSLR come from the fact that this camera is not a DSLR.  It does not need a mirror box for an optical viewfinder and buttons do not need to be rearranged for video use.  There is more room inside and outside the camera to put necessary (and sometimes large) components while making sure they get cooled properly.  This camera was designed from the ground up for video, not redesigned for an additional feature.

  -Conclusion-

So do the specs tell the whole story with this camera.  Not really.  Like the C300, the C100 produces an image worth more than the specs speak of.  The image sensor inside the camera does an excellent job with dynamic range and image quality, while despite the low bit-rate, image detail is maintained very well.  If you are making a documentary or a super low budget narrative, the C100 is definitely worth a look.

  Here at CSI we offer 2 savings packages which combine the C100 with some suggested lenses that will work to help you realize your vision.  So be sure to check them out on our website for the latest prices or come by and check them out at our Manhattan location or give us a call at 212-243-7368.

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Sony PMW F5 CineAlta 4K At CSI Rentals NYC

The latest addition to the CSI Rentals rental inventory is the New Sony PMW F5 CineAlta 4K  camera

For incredibly vivid HD, start with the 4K imager of the Sony F5. You’ll get superior, super-sampled pictures with noticeably higher contrast, rich color reproduction and greater clarity. This is the next generation of the incredibly popular F3 and offers robust built-in recording modes, all with vibrant 4:2:2 color. Irresistible options include the amazing precision of 16-bit linear RAW 2K/4K recording and high speed shooting at up to 120 fps without cropping

Super-sampling: Spectacular HD, 2K or 4K

Does a 4K camera make sense in an HD world? Perfect sense. With 8.9 megapixels (effective), Sony’s 4K image sensor enables a single camera to provide gorgeous, super-sampled HD and 2K while preparing you for the 4K future.

Shoot, Record, Master and Distribute in stunning 4K. You’re ready for the more than 13,000 movie theaters with Sony Digital Cinema 4K projectors.

Shoot, Record and Master in 4K. Distribute in 2K/HD. Derive your delivery format while preserving the original as a future-proof archive. Your master is ready for future 4K release.

Shoot in 4K. Record, Master and Distribute in 2K/HD. Sony’s 4K sensor gives you a gorgeous, super-sampled HD picture with visibly superior texture, color reproduction, detail and high-frequency contrast that ordinary HD cameras cannot touch

4K or derived 2K RAW. Capture RAW at your choice of resolutions: the camera’s native 4K or beautiful, derived 2K. RAW recording preserves the greatest latitude for color correction and other post processes.

Incredible 16-bit precision. By design, Sony’s 16-bit recording captures more tonal values than the human eye can differentiate. Sony RAW retains 16 times as many Red, Green and Blue gradations as 12-bit RAW and 64 times as many tones per channel as 10-bit recording. Sony 16-bit linear RAW is also the ideal point of entry into the 16-bit linear Academy Color Encoding System (ACES) workflow.

Comprehensive production platform. More than an individual product, the AXS-R5 is the starting point for an efficient workflow. The AXS-R5 records onto sleek, optional AXSM™ memory cards, which are compatible with an affordable optional USB 3.0 reader, the AXS-CR1. Once on a PC, the RAW files can be screened using Sony’s free RAW Viewer software.

Simultaneous RAW + Onboard SxS recording. Instead of requiring you to patch together a science project, Sony provides a coordinated “off-line, on-line” workflow with simultaneous recording to internal SxS cards and the optional AXS-R5 RAW recorder. For seamless conforming in post, you get matching time code, start frame, stop frame, file names and other metadata. The camera supports the following RAW + Onboard combinations:

4K/2K RAW + XAVC 2K*/HD

4K/2K RAW + MPEG-2 HD422

The Sony F5 is uniquely designed to make economic sense today, with the features you’ll need to continue generating value for years to come. Instead of locking you into a single recording system, the camera opens the door to unprecedented versatility. Consider the choice of internal recording codecs. The camera’s 16-bit Linear RAW 4K output enables Sony’s optional AXS-R5 recorder to register every nuance of color, contrast and detail from the 4K image sensor—and even record a derived 2K RAW signal. Finally, Sony’s planned firmware upgrades are scheduled to bring you even more frame rates, more operating features and more recording options in the months and years to come.

Cinematographers paint their images with light and shadow. So the ability to render tones from deepest shadows to brightest highlights is a crucial test of any digital camera. The F5 excels, with an impressive 14 stops of exposure latitude, extraordinary low-light sensitivity and extremely low noise in the blacks. The result? Graceful rendering of scene contrast, even in searing sunlight.

Amazing OLED: optional DVF-EL100. Don’t let the small size fool you. This 0.7-inch* viewfinder has the incredible clarity of 1280 x 720 High Definition. And resolution is just the beginning. Thanks to OLED technology, you get superb brightness, contrast and response.

The F5 is exceptionally small, light and modular, letting you build up the right configuration for each job—or each shot. For example, you can add the optional AXS-R5 RAW recorder whenever you need it. Or go with internal HD recording whenever size and weight are the highest priority. The time code/genlock connections and XLR audio inputs are built into two modules you can add or remove as needed. Small size is particularly welcome in stereoscopic 3D shooting. The chassis is only slightly wider than a typical PL mount prime lens, perfect for both mirror rigs and side-by-side configurations.

When it comes to production, one recording mode emphatically does not fit all. That’s why the F5 gives you three useful recording formats. All are recorded internally, onto Sony’s established, affordable SxS media.

The F5 is a next-generation camera, which will feature high-data-rate on-board XAVC 2K/HD recording at 120 fps with a free planned upgrade. This requires next-generation SxS recording media—Sony’s 64 and 128 GB* SxS PRO+ memory cards—and a next-generation USB card reader, the SBAC-US20.

The camera offers vital connections, including four HD-SDI jacks, HDMI®, USB, DC IN connection, a removable XLR audio module and a removable time code/genlock module. The XLR inputs accept balanced analog signals, provide 48-Volt phantom power and will accept four channels of AES/EBU digital audio with an expected firmware upgrade. 

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Profoto B4 1000 Air

Now  At CSI Rentals NYC Like never B4 

Extremely fast recycling: 0.03-0.99s

 Unmatched flash duration 1/2,000s-1/25,000s.

Huge (11 f-stops) power range (1-1,000Ws).

Tough and Robust

Exchangeable, high capacity LiFe (Li-Ion) battery.

220 full power flashes from a single battery.

45 minutes battery recharge with standard quick charger.

2 individual lamp head sockets with precise control in 0.1 f-stops.

Integrated Profoto Air remote control and sync.

Several compatible flash heads available.

Up to 500W model light.

  The Pro-B4 is by far the fastest battery flash on the market. But there is more to it. A closer look at Pro-B4 reveals the following:

1. Extremely short flash durations

With flash durations down to 1/25,000s, the Pro-B4 offers the shortest flash durations of any generator on the market. It is now possible to freeze motion in a way that yesterday’s photographers could only dream of.

2. Exceptionally fast recycling

The Pro-B4 is the fastest recycling battery generator on the market. At lower power settings it is able to fire up to 30 flashes per second, while the longest wait on full power is less than a second. In other words: you will never have to wait for the Pro-B4. Now how fast you can shoot depends only on your camera.

3. Outstanding reliability

The solid-cast aluminium chassis and the sturdy rubber frame ensure that the Pro-B4 can take a beating. All connection are covered with protective lids, helping to prevent moisture and dust from entering the generator.

4. Powerful inside and outside the studio

On-location, its performance rivals that of any mains-powered studio generator. In the studio it gets even better. The battery can fully recharge in less than 45 minutes and can be recharged while in use! This means that if the modelling light is used moderately, the pack can be used continuously.

5. Extraordinary power range and superb precision

The Pro-B4 offers a huge 11 f-stop power range with unrivaled stability in power output and color temperature. It has two independent outlets with individual and intuitive controls and displays.

6. Integrated Air radio sync and remote

The unique Air system is the fastest radio sync system in the world. Control the Pro-B4 from your camera, your computer or from the palm of your hand.

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Jem Ball Lights Are Here

The JEM Ball and JEM Tube series of products are hand-assembled and contain aircraft-grade aluminum  precision machined from solid stock.

This product replaces the conventional paper lantern. The JEM Ball radiates a soft surround (360 degrees) lighting effect with fewer shadows than conventional lights. The JEM Ball’s sturdy construction makes it both durable and reliable.

The Jem ball is available in 22″ and 30″ sizes and is tungsten balanced with option to switch it to daylight by adding a Joker bug HMI Daylight tube

Rent the Jem ball light today and from here on this will be your way of lighting

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Schneider Cine Xenar III Cinema Prime Lenses

Look what we got for you 

The Schneider-Kreuznach Cine-Xenar III lenses are the tool for your creativity. The fast T-stop and the robust and reliable construction of the lenses give you all the freedom you need to pursue your ideas.

A veriety of 6 prime lenses have arrived at CSI Rentals including the 18mm 25mm 35mm 50mm 75mm 95mm all available for rental at CSI Rentals Manhattan And Brooklyn stores 

Schneider-Kreuznach Cine-Xenar III lenses are specifically designed for digital cameras and have some unique features:

PL mount for digital and 35mm film cameras

31.5mm image circle for coverage of 2K/4K/5K Cinema, and Canon 7D

Telecentric optical design for better performance with digital cameras

Ultra Close Focus (UCF) down to 25cm/11” from sensor plane

Virtually no breathing

All lenses are color matched

Flare suppression through internal light traps and Schneider-Kreuznach High Performance coating

Easily interchangeable calibrated focus scales (feet/meter)

100mm x 0.75 filter thread

104mm outside diameter

Low distortion

Iris with up to 18 blades for an exceptional bokeh effect

Protective lens coating against dust and humidity

The lenses all have the same dimensions, do not change volume during focus, and all focus and iris gears are in the same position. Changing lenses has never been easier: The lens motors can stay in the same position.

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Redrock One Man Crew Camera Slider

Perfect for Corporate, Documentary, Interviews, Product/Tabletop Photography

The One Man Crew is the perfect addition to small crews doing interviews and relying on fast setups and great images. Use on the main camera when alone for a high-end production feel, or use with a second camera for cutting between shots with beautiful high quality movement. Use more than one One Man Crew in multi-camera shoots for getting those extra shots that make the difference.

The One Man Crew is also great for product and tabletop photography where smooth, controlled, and repeatable motion creates that extra sparkle in your product shots.

Setup in Literally Minutes

The One Man Crew is ready in under a minute and can be setup by virtually anyone thanks to a lightweight self-contained design, intuitive laser alignment guides, and push button ease of use. One Man Crew does the rest, delivering smooth, controlled camera motion for that high-end production feel. Walk into a board room or a hotel room with confidence you can nail the shot.

 Patent-Pending StayFocus™ Curved Rail 

The heart of the One Man Crew is the first and only parabolic motion system.

  Once set up, your subject stays in focus and stationary in the frame without any operator assistance. Push-button ease of use means you are getting the shot, not fiddling with controls and programming while everyone is waiting.

  A Great Value That Pays for Itself Over and Over

  Deliver beautiful content on every project, no matter the budget. One Man Crew is at home on sets with one crew member or one hundred. Any way you use the One Man Crew, it delivers consistently great footage. You’ll be amazed at what you can do with less.

  Key Features and Benefits

  Patent-pending StayFocus Curved Rail keeps subject in focus and stationary in frame

Instant setup with self-contained unit and laser alignment assist

Works with virtually any camera – universal plate and capacity of 20 lbs

Easy to transport and carry

Complete kit includes everything you need

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A few shots from today

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Testing the @sonyprousa RX100 Mark III with pop up EVF, ND filter, XAVC-S and fast 24-70mm equivalent f/1.8-f/2.8 lens. Huge jumps over the already impressive Mark II!

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Remember to use your Made in NY card to get discounts on rentals